Here you can read the live report of the conference BEYOND ballet why and how by Visuele notulen. Read en watch the content addressing multiple themes that impact many levels of dance. The conference format facilitates content development over three days, presenting in-depth discussions and workshops that offer the opportunity to expand knowledge.
More than any other performing artists, and certainly more than most athletes, dancers are at high risk for poor nutrition, eating disorders, and preventable, career-ending injuries. To address these physical issues, it’s necessary to examine the underlying causes. And to do that, we need to understand the dancer’s frame of mind.
Theatre can’t be preserved, you have to see and experience it. I often encounter this objection when I’m enthusiastically telling people about the Theatre Heritage collection that we conserve and manage. In large part, it’s true. The goose bumps, the shivers, the hearty laugh, the emotion: everything that’s aroused by a beautiful and outstanding performance can indeed not be conserved by us, as heritage curators for the performing arts. Nevertheless, by conserving a great deal of data and objects we can, as it were, reconstruct the performance.
Mina damer och herrar, hjärtligt välkomna i Arnhem!
För mig som borgmästare är det ett stort nöje att få ta emot er här på denna internationella konferens BEYOND ballet why and how.
Ladies and Gentlemen, welcome to Arnhem!
While training, emotions affect the teacher and the student. Emotions are contagious and we need to learn how to deal with them to improve the quality of the training. A way to learn how to deal with those emotions, is to first of all create an awareness that there are in fact emotions. Even in the dancing world.
You have to know who your main audience is. How much money they make, where they life, how many children they have, are their children in school?
“Is documentation of our cultural heritage important? If so, why and how?”
Tomorrow will be an interesting day with keynote speakers and panels on the Medicine and Science topic. Don’t miss out the keynote from Yiannis Koutdakis and the interdisciplinary network panel!
Peak performance is no coincidence. Becoming a real expert in any domain takes a lot of time and effort. This panel discussion relates to sports but is equally applicable to dance. Often, elite athletes have invested more than 10 years of their life before they reach the highest level.
In her daily profession of assistant professor ‘Sports Sciences’ at the Center for Human Movement Sciences (University Medical Center, Groningen) Dr. Marije Elferink, together with many partners and colleagues, follows talented athletes in a variety of sports over time in order to determine what makes one athlete more successful than another.
There are four dimensions in which you can articulate your missions: social, transcendental, societal and personal. In the ideal situation you determine your mission in each of these dimensions.
“We were used to paradise. We can complain or we can look forward. In an artistic sense, if you don’t have anything, you are pushed to find a way. Even if they’re just baby steps. In the end you need to know that you need to reach out and also be reachable. You need to be able to vocalize the value. Collaboration needs to entail this as well. The added value and depth of exchange is becoming more and more essential.”
There’s this one exercise I usually use during workshops. I’ll tell them to imagine their utopia, their ideal world.
“You need to have an understanding of the world you’re in.”
As a leader, you need a mission and you need to be aware of it. Whether you have to guide your family or your employees, ask yourself and ask them: what is it good for?
What you want is not important
When giving guidance, never ask: ‘What do you want?’ People want all kinds of things. Money, success, more free time. Instead ask: ‘What is important to you?’
“I have a strong interest in positive psychology and I’d love today to become an interaction around what I have to share and who you are as professionals.”
Getting somewhere or reaching a goal will take time. Enabling dialogue and giving over control to the dancers themselves is sometimes a paradox within the external demands there might be on our educational system.
Change is around us all the time. From technology, culture, politics to evolution and the weather it surrounds and influences us. In dance it has all kinds of elements and it is often a cyclical process. Form and abstraction and the expression of the body balances with the social context.
At the core of my work acknowledging the dancer as a person and the concept of the individual responsibilities in life-long learning. The Oxford Dictionary says : “An act or process by which something becomes different.”
“Managers crowd out creativity”
There is a distinction to be made between managers, entrepreneurs and leaders. At least, it’s a distinction I like to make.
More and more students have started to contact me, asking if I have time to talk to them about arts management. Some are even arts or dance management majors.
Themes of BEYOND ballet why and how:
The unifying elements in this theme highlight the ways in which changes are implemented within dance education. As our knowledge base expands, fuelled by artistic practice and applied and theoretical research strands, our perspective on the moving body through space and time have changed dramatically. Consequently, the way we train and the role that training plays in the daily routines of dancers, educators and artists requires further examination. What skills do present, and future, educators need in their interaction with students and dance professionals? This theme shows examples of various methods developed by dance practitioners based on questions and challenges of educating the dancer of today.
Today we live in a hyper-capitalist global society. Instant consumption of both goods and concepts are de rigueur. Dance is a consumer product. Museums, theatre companies and television production firms now own hybridised art and commercial works. Todays’ dancers feel empowered to claim co-creation or part ownership in the artistic product. How does this affect the artistic process and ultimately the finished creation? Is the 24-hour consumption of dance via YouTube and Vimeo a blessing or a curse? And what is the justification for the re-enactment or re-creation of previously created work? This theme invites working choreographers to conduct extended workshops and share their artistic and choreographic research methods.
Essential to the structure of the urban dance encounter, also known as ‘battle’ or ‘circle dance’, is extensive shared knowledge. This knowledge is valuable when it comes to communications and interactions with the public as well as the performative nature of dance in public spaces. But also when it relates to ‘open’ training principles and the ‘anatomy’ of different urban dance styles. This theme is particularly interesting for those who wish to experience how urban dance training principles and methods can be used in traditional dance settings. And for urban dancers to experience more about healthy practice, research into the discipline and training together.
Is it important to preserve our heritage? And if so, how do we best archive, transfer and interpret this knowledge for present and future generations? In the Netherlands, with the recent decision of the national government to close the Theatre Institute, theatre heritage has been locked away. The ramifications of such a drastic decision become all too poignant when current dance makers try, in vain, to source previous generations for inspiration. How is knowledge preserved and accessed in the Beyond? And how should we approach the fragile question of ownership, co-creation and documentation? This theme in the conference explores archiving, notation and repertoire.
With the increasing interest in, and use of knowledge gained from dance and sports medicine research, a deeper understanding of the challenges involved in care of dance students and professionals has evolved. What new challenges lie ahead as dancers’ careers are now lengthened well into age 40’s and 50’s? What adjustments in counselling, prevention, treatment and research are required as dance styles morph and merge with, for example circus theatre? And more importantly, does this influence the need for a more interdisciplinary support network in the near future?
* If you want to join the medicine and science sessions on the Saturday afternoon you should register as the ‘medicine and science’ category.
In addition to the specific themes detailed above, BEYOND also offers subjects of general interest. Lectures, workshops and plenary sessions will focus on the challenges and changes that dance is facing in the future. Subjects will include changes in the support structures for choreographers, new forms of financial support, the ever-changing question of progressive professional development, tools for ‘new’ leadership and the psychology of change.
‘Holistic Ballet’ dancing from the inside out – an introduction to a holistic approach to ballet training by Clare Guss-West B.Hum
Today, ballet students and professionals regularly turn to alternative training methods such as yoga, Pilates and weight training to supplement their daily ballet class, finding it insufficient as a stand alone training to meet the demands of todays choreographers and diverse repertoire.
An international conference, initiated by education, partnered by the dance profession
BEYOND ballet why & how continues where the 2012 conference Ballet: Why and How? left off. Then, the conference was geared toward one aspect of dance education, namely the role of ballet technique in vocational schools and life of the professional dancer of today. The main objective was to promote dialogue between professionals about the challenges education faced in relation to that particular subject. Now, ArtEZ School of Dance and Balettakademien Stockholm join forces once again and offer a different perspective. The aim of BEYOND is to stimulate discourse on dance and dance education in a broader social context. We do so by inviting experts from the world of dance, but also external professionals to present their unique perspective. The education and the professional field partner up by sharing viewpoints and insights, to take solid steps towards building the dance educators and professionals of the future.
BEYOND ballet why and how can be seen as a continued professional development conference, addressing multiple themes that impact many levels of dance. The conference format facilitates content development over three days, presenting in-depth discussions and workshops that offer the opportunity to expand knowledge. This chosen format provides delegates with the chance to return to subjects through multiple day sessions, to meet with the peers in various constellations and build a network of partners.
The themes for BEYOND are as followed:
This theme examines various methods developed by dance practitioners based on their questions and challenges in educating the dancer of today.
This theme invites choreographers to conduct extended workshops and share their artistic and choreographic research methods.
This theme is particularly interesting for those who wish to experience how urban performance art, in particular training principles and methods, can be used in other dance settings.
This theme explores notation, archiving, repertoire, authorship and the relevance of heritage.
This theme focuses on applied dance and sports science & medicine research to provide a deeper understanding of the challenges involved in the care of students and professionals.
In addition to the specific themes detailed above, this theme will offer subjects of general interest.
“Striving for excellence motivates you; striving for perfection is demoralizing.”-
A lot of bboys and bgirls have problems with their shoulder when they go down to the floor in breaking. The shoulder is a joint that is mostly held up by muscles. Because of this, the proper physical preparation of the shoulder muscles is essential for having a professional breaking career.
This paper examines and highlights the importance of valuing the body as it gravitates towards maturity (or ‘otherness’) refuting the myth that people do not or should not dance as they get older.
BEYOND ballet why and how
Jessica de Jaeger
Project Management ArtEZ School of Dance
P.O. Box 49, 6800 AA Arnhem, The Netherlands
6812 CE, Arnhem